The Tonkünstler-Societät ("Society of Musicians") was a benevolent society for musicians in Vienna , which lasted from the mid-18th century to the mid-20th. Its purpose was "to support retired musicians and their families". Beginning in 1772, the Society mounted a series of benefit concerts, often with large forces of performers, at which were performed works by leading Classical-period composers, including Joseph Haydn , Wolfgang Amadeus Mozart , and Ludwig van Beethoven .
21-589: The Society was founded by Florian Gassmann in 1771. It was also known as the "Gesellschaft der Wiener Tonkünstler zum Unterhalte ihrer Witwen und Waisen"; i.e. "Society of Viennese Musicians for the Support of their Widows and Orphans." Until 1811 (the year that the Gesellschaft der Musikfreunde was founded), it was the only private organization offering concerts in Vienna. The Society was strongly supported by
42-647: A cadenza for the last movement ("Chi in Dio sol spera") were newly composed for the work. It has a duration of approximately 45 minutes. The theme of the work is based on the Psalms and the First Book of Samuel of the Old Testament . The text was previously attributed to Lorenzo Da Ponte , following a report by Vincent Novello . However, it is now known that the text is taken from Italian translations of
63-465: A carriage accident sustained on his final visit to Italy. Gassmann's two daughters, Anna Fuchs and Therese Rosenbaum , were both famous singers trained by Salieri; the younger, Therese, made a particular name for herself as a Mozart interpreter. Charles Burney , in one of his published accounts of his many European tours surveying the musical scene, recalls, on a visit to Joseph II and his court, meeting Gassmann and finding him very forthcoming. Among
84-584: A member until 1797; at this point his many contributions to the Society's charitable concerts over the years led the Society to make him an honorary member. Mozart attempted to become a member in 1785, around the time his Davidde Penitente was performed by the Society (see below). His application procedure stalled because of the requirement that Mozart produce his birth certificate (he had been born in faraway Salzburg , making it harder to do so). Mozart promised twice to provide it but never did. His dilatoriness
105-555: Is a cantata by Wolfgang Amadeus Mozart , to texts by Saverio Mattei [ it ] . The cantata was commissioned by the Wiener Tonkünstler-Societät , and first performed on 13 March 1785 in the Vienna Burgtheater . Most of the music is derived from the unfinished Great Mass in C minor , K. 427 (1782–83), although two arias ("A te, fra tanti affanni" and "Fra l'oscure ombre funeste") and
126-482: The baroque and classical eras. He was one of the principal composers of dramma giocoso immediately before Mozart. He was one of Antonio Salieri 's teachers. Gassmann was born in Brüx , Bohemia , and was most likely trained by Johann Woborschil, the local chorus master. His father was a goldsmith who may well have opposed his son's choice of a musical career. From 1757 until 1762, he wrote an opera every year for
147-846: The carnival season in Venice , and was also appointed choirmaster in the girls' conservatory in Venice in 1757. Many of the librettos he set were by the renowned Venetian playwright Carlo Goldoni . In 1763 he was called to Vienna as court ballet composer, and was held in great affection by Emperor Joseph II . In 1764 he was appointed chamber composer to the Emperor, and in 1772 court conductor. In 1766 Gassmann met up-and-coming young Antonio Salieri in Venice, invited him to return with him to Vienna and taught him composition using Johann Joseph Fux 's textbook Gradus ad Parnassum . Salieri remained in Vienna, and succeeded Gassmann as chamber composer to
168-597: The Emperor on the latter's death in 1774. Another Italian composer, Giuseppe Bonno , succeeded Gassmann as court conductor. In 1771, Gassmann founded the Tonkünstler-Societät (Society of Musical Artists), which was the first group in Vienna to give concerts for the general public, and for the benefit of its members' widows and orphans. He wrote his oratorio La Betulia liberata for that purpose. In 1774, he died in Vienna from long-term consequences of
189-448: The Society (see below), there were 40 violins, 8 violas, 9 cellos, 11 contrabasses, 2 flutes, 7 oboes, 6 bassoons, 2 English horns, 4 horns, 2 trumpets, and 1 timpanist, a total of 92. The chorus had a combined total of 28 sopranos and altos (all boys), 13 tenors, and 13 basses; thus overall a total of 146 performers. Comparable numbers were employed in other years. In a letter written home to his father Leopold, Mozart expressed wonderment at
210-462: The aristocracy (who were, along with the Church, the primary employers of musicians at the time). In her decree (23 February 1771) authorizing the founding of the Society, the empress Maria Theresa also made an initial contribution to the Society's fund in the amount of 500 ducats (about 2000 florins). Later, the diarist Karl von Zinzendorf observed that attendance at the Society's charitable concerts
231-594: The care of widows and orphans in Vienna"). The Society endured until 1939 when on 9 March the National Socialist government of Germany abolished it; Germany had annexed Austria in the previous year (the Anschluss ). From the viewpoint of the history of music, the greatest significance of the Society falls in its early period, up to the early 1800s, when it played an important role in premiering or disseminating works of music still acclaimed to this day. For
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#1732772827144252-428: The composers of the large work just once each, and several times of the smaller works. Haydn died in 1809. The Creation and The Seasons continued over the decades as frequent choices for performance by the Society. Mozart died in 1791. Florian Gassmann Florian Leopold Gassmann (3 May 1729 – 21 January 1774 ) was a German-speaking Bohemian opera composer of the transitional period between
273-451: The later period, after public concerts elsewhere had come to flourish and the Society's own programming had become conservative, the historical significance of the Society became less, and mentions of the organization in the work of music scholars are few. The Society was unusual in the sheer size of the orchestras and choruses that performed in their concerts. For the concerts of 1 and 3 April 1781, where Mozart made his first appearance with
294-426: The manuscripts Gassmann showed him, he reserved most of his praise for his chamber works. Burney was either not exposed to, or said nothing about, Gassmann's orchestral music. Johann Baptist Wanhal is described by author Daniel Heartz as Gassmann's " protégé ". See List of operas by Florian Leopold Gassmann . Includes: Davide penitente Davide penitente , K. 469 (also Davidde penitente ),
315-536: The organization was fairly adventurous, mounting performances of new or recent works. Around 1800, traditionalism set in, and the programs now emphasized music that had come to be revered, including many performances (initially led by the composer) of Haydn's two great oratorios, The Creation and The Seasons . Indeed, in 1862 the organization renamed itself after Haydn: ("Haydn", Witwen- und Waisen-Versorgungs-Verein der Tonkünstler in Wien = "Haydn: Musician's society for
336-452: The program; concertos in particular may have just used a subset of the musicians for better balance. Although the Society is frequently mentioned in biographies of Haydn, Mozart, and Beethoven, only Haydn ever actually belonged to it, and that in exceptional circumstances. Haydn first composed a work for the Society to perform in 1773 ( Il ritorno di Tobia ; see below). In 1778, he signed up for membership and duly paid his enrollment fee, but
357-419: The size of the orchestra and delight in how well his symphony had come off at the concert. These numbers were made possible by the fact that participation in the Society's concerts was obligatory for all members (else they had to pay a small fee in compensation). In addition, some prospective Society members also performed. Edge suggests that one should not assume that such forces were used for all numbers on
378-458: Was Haydn) with a free pass to all of its concerts. Most often, a concert of the Society would program a large work (typically an oratorio ), supplementing it with smaller works, often for solo or small ensembles. The smaller works usually were chosen to be different on the two nights a concert was given. Haydn was represented multiple times as composer of the large work and sometimes of the smaller works; in their lifetimes Mozart and Beethoven were
399-546: Was asked on top of this to write further compositions for free at the Society's command. Haydn refused, and he then was rejected for membership. Relations between Haydn and the Society remained cold for some time. In 1781, they were unable to come to an agreement for a repeat performance of Il ritorno di Tobia , though for the Spring 1784 concerts they were able to arrive at an accommodation. Haydn's works continued thereafter to appear on Society programs. Haydn did not finally become
420-522: Was considered something of a duty for members of the nobility. The Society served as a model for comparable organizations, not just in the Austrian Empire but also in Berlin (1801) and St. Petersburg (1802). The performances of the Society were given on a schedule that remained fairly consistent across the years: two performances at Easter time, and two just before Christmas. In its earlier years,
441-418: Was unwise, since when he died in 1791 he left both many debts and a wife ( Constanze Mozart ) with two young children. Fortunately, Constanze proved an astute businesswoman and eventually managed to achieve prosperity from the publication of her husband's works. Although his works were performed by the Society, Beethoven was never enrolled as a member. He was, however, honored by the Society for his services (as
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